Lemenaid

Tuesday, July 14, 2015

So it has been a while. Life has thrown a few distractions my way but I am working on bringing this blog up to speed, starting with my Keynote presentation from this year's Comicon 2015. I have to build an interactive for the second half of the presentation on Photoshop brushes and how to use them as tools to build backgrounds.

Wednesday, April 24, 2013

Here is a video on the different motivations for doing quick sketch. Keep in mind that there are many many more than this, this is but a drop in the bucket for what we do when we quick sketch, but I do find that in most gesture circles there is no real motivation for why the artist is drawing, and that can eventually lead to all sorts of interesting problems, including the question that can easily come to mind, "why am I doing this?"
The tools and surfaces you work with will also change up and inspire different types of motivation too, but in this case I worked with charcoal and newsprint, the standard tool of choice in most schools.
Pass the video on if you find it useful, and thank you for watching.

Sunday, March 3, 2013

Hello, first post in a while and I wanted to make it a descent one to start with again.
Here is the photo that I am working with.

This is a photo of Peter Hewitt. I do not currently know who shot this photo but I will find out soon.

So, what I want to do is take this photo and find a spot somewhere else next to impossible to take this image.

I am going to put the camera under the board or behind it as if this was a clear tunnel.

First
thing to do is learn the original pose so we can proceed forward with
more working confidence. So study the image and do a drawing from its
perspective, in this case I am using figure construction methods to help
me determine the volume presented before me.

Here is the drawing that I did a study of to start the process.

Note that I have analyzed the volumes cylindrically and I have also found the camera angle from which the photo was taken.

Next
we will break down the image into what would be termed an orthographic
view. WHY? A good practice to know everything you can about something
is to move all the way around it and learn about the 1. balance, 2.
relationships between the pairs - hands - feet - hips - etc. 3. to
completely understand the pose and the action behind the pose.

Here is the ortho view.

This
ortho starts with finding one of the two core shapes directly in line
with the camera. In this case I found the back and built the first
drawing starting with a flat view of the ribcage. From there the other
views were easier to construct. This helps me now totally memorize this
pose so I can now invent it from any new angle I choose. Why so much
work? I cannot ever recreate this moment to shoot it myself, therefore I
must find some way to get into the situation if I am ever to do
anything else with the pose I have as a reference.

From this I know the weight of the pose, where the center of gravity is, how the limbs balance each other out, etc.

From this I can proceed to the invented drawing. Here is the finished plate.

I
added grayscale to it so you can see the difference in the spaces with
Photoshop. Again, remember that the camera is positioned under the
largest wheel as if the fullpipe was a clear tube. The face and hands
etc. were detailed out by finding other photos of Peter to complete the
image. This was a possiblity because I took ownership of the pose by
doing a thorough job with examining it and understanding it so I can
manipulate it to my liking.